隋“开皇乐议”相关乐律问题探析——“三声乖应”“三声并戾”与“七十七音乖越”  

Discussion of Temperament Related to Kaihuang Music Discussion of the Sui Dynasty——“ Discordant Three Tones”,“Dislocation of Three Tones”and “Erroneous Seventy-seven Tones”

作　　者：谷杰[1] 

机构地区：[1]武汉音乐学院

出　　处：《浙江艺术职业学院学报》2013年第4期6-13,共8页Journal of Zhejiang Vocational Academy of Art

摘　　要：隋代"开皇乐议"之中,郑译的"八十四调说"字斟句酌、环环相扣,而不乏真知灼见。其中"三声乖应"、"三声并戾"与"七十七音,例皆乖越"诸说,反映出郑译的旋宫说尤重"宫为君、商为臣、角为民"的规则,结合近年来相关研究成果,可以更深入地解析这段史料的涵义。In Kaihuang Music Discussion of the Sui dynasty, Zheng Yi＇ s argument of ＂eightyfour tones＂ is careful ly worded and is with insight. It involves a lot of temperament issues and reflects the music system in early Sui dynas ty to a certain extent. The literature is particularly prized and many scholars interpret it, especially some of the key terms Zheng Yi used, such as the discrimination of connotations of ＂discordant three tones＂ and ＂dislocation of three tones＂. The study on xuangong in recent years is helpful for the reinterpretation of Zheng Yi＇ s music theory and re veals the connotations of ＂discordant three tones＂, ＂dislocation of three tones＂ and ＂erroneous seventy tones＂.

关 键 词：隋 开皇乐议 三声乖应 三声并戾 七十七音乖越 下徴调 

分 类 号：J612.1[艺术—音乐]